A lousy headline montage brings us up to speed on an old murder under the credits (See Murder on the Orient Express for a superior prologue/montage). Then the story begins; a woman who has stopped talking is shopped around town (L.A.) to learn why, and who she is.
How on earth did everyone imagine this was Branagh's take on Hitchcock? He's really toying with Welles (and noir), specifically 'Mr Arkadin' with its masquerade and bearded Orson. But with viewers not knowing their history (about anything) and unable to communicate, you get misconceptions like that. And, it's a whodunit. How many whodunits did Hitch make two? Instead Branagh wants to BE Orson Welles, and the camera work is noticeably fluid, but Welles worst movie (pick one, there are lots) has far superior lighting, compositions, tonal range and camera work. Welles was intoxicated by celluloid beauty and B&W helped him find it. Noir uses the screen so much better than this. Color makes peoples eyes lazy, as here. But it's easy to see why this cops out; the story is so surface-deep they may have concluded it couldn't support too much originality in the visuals. However, a frequently roaming camera does provide one remarkable, nice extended shot in the first hypnosis session.
Brit Branagh has no feel for L.A., and has created a bizarro L.A. that is peopled mostly by Brits; lipless Branagh, unconventional Thompson and stagebound Jacobi; both men looking doughy. The twist here is interesting but it comes about half an hour before a solution that is beneath everyone. In the end I can't tell you at all how the twist contributes anything to the conclusion. As with most movies, the more explanation that is hurriedly provided in the climax, the worse the movie gets. I can't even imagine what people think these shallow last-minute resolutions do for them. DA reminded me of the lame, forgotten Hitch-ripoffs 'The Morning After' and 'Still of the Night' with Meryl Streep. If you wrote a time machine into 'Hush, Hush Sweet Charlotte' it would probably be like this.
It's too long (1:47). The plot is simply not interesting enough to drag things out half an hour beyond irritation. Already at 1:06 it feels like it should be winding down. I just wanted it to conclude. Needless developments, a hammy score... and keep your eyes peeled for the worst aging make-up ever seen in a major film.
How on earth did everyone imagine this was Branagh's take on Hitchcock? He's really toying with Welles (and noir), specifically 'Mr Arkadin' with its masquerade and bearded Orson. But with viewers not knowing their history (about anything) and unable to communicate, you get misconceptions like that. And, it's a whodunit. How many whodunits did Hitch make two? Instead Branagh wants to BE Orson Welles, and the camera work is noticeably fluid, but Welles worst movie (pick one, there are lots) has far superior lighting, compositions, tonal range and camera work. Welles was intoxicated by celluloid beauty and B&W helped him find it. Noir uses the screen so much better than this. Color makes peoples eyes lazy, as here. But it's easy to see why this cops out; the story is so surface-deep they may have concluded it couldn't support too much originality in the visuals. However, a frequently roaming camera does provide one remarkable, nice extended shot in the first hypnosis session.
Brit Branagh has no feel for L.A., and has created a bizarro L.A. that is peopled mostly by Brits; lipless Branagh, unconventional Thompson and stagebound Jacobi; both men looking doughy. The twist here is interesting but it comes about half an hour before a solution that is beneath everyone. In the end I can't tell you at all how the twist contributes anything to the conclusion. As with most movies, the more explanation that is hurriedly provided in the climax, the worse the movie gets. I can't even imagine what people think these shallow last-minute resolutions do for them. DA reminded me of the lame, forgotten Hitch-ripoffs 'The Morning After' and 'Still of the Night' with Meryl Streep. If you wrote a time machine into 'Hush, Hush Sweet Charlotte' it would probably be like this.
It's too long (1:47). The plot is simply not interesting enough to drag things out half an hour beyond irritation. Already at 1:06 it feels like it should be winding down. I just wanted it to conclude. Needless developments, a hammy score... and keep your eyes peeled for the worst aging make-up ever seen in a major film.